The Duke of Marlborough’s immense Blenheim Palace serves as Elsinore’s exterior.īranagh’s use of the full text is neither academic nor self-indulgent, and it provides a richer context for the tragedy that is set in motion when Gertrude (Julie Christie), the queen of Denmark, and her husband’s brother Claudius (Derek Jacobi) become lovers and poison the king. To give “Hamlet” epic scope, Thomson (an assistant cameraman on “Lawrence of Arabia”) shot in 65-millimeter film, to be projected in 70 millimeters.
It also makes for a gorgeous period piece with Tim Harvey’s superb sets and Alexandra Byrne’s equally rich costumes.ĭesigned in the elegant Scandinavian neo-classical style, the sets are dominated by a vast mirror-lined, balconied throne room, enabling cinematographer Alex Thomson to encircle and dart around the actors with fluidity. This brings the tragedy closer to us in time but long enough ago for the Shakespearean dialogue to sound natural. He reset the play to an unspecified year in the 19th century, roughly in its third quarter. To accomplish this, Branagh has made some inspired and crucial artistic decisions.
It is a testament to Branagh’s dedication, long experience with Shakespeare and sense of the cinematic that he allows us to immerse ourselves in Shakespeare’s profound meditation on the human condition without “Hamlet” seeming as long as it actually is. What’s more, he has done it with remarkable clarity and meaning, resulting in a two-part film with a combined four-hour running time presented with an intermission after about 2 1/2 hours. Instead of trying to compete with such acting and directing geniuses as Laurence Olivier and Orson Welles, Branagh does what no one else has done before, and that is to present Shakespeare’s full text on screen. With his handsome and compelling “Hamlet,” Kenneth Branagh brings the Bard’s greatest tragedy passionately alive on the screen.
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